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Compression

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Kyle Coberly edited this page Dec 15, 2019 · 4 revisions
  • You've compressed too much when it has too much detail, gets smaller, loses tone. Use automation or clip gain instead.
  • If you put a compressor before a reverb, it sounds smooth and natural. If you put the reverb before the compressor, it makes the reverb jump out.
  • Corrective EQ before compressor, creative EQ after compressor
  • Bus compression makes things that serve the same function in a mix glue together
  • Compressor distorts if you set attack and release faster than the wave length of a low frequency
  • Compress an instrument if you need to control its dynamics or if you need to impact a compressor's character

Controls

  • Fast attack cuts off transient, slow attack is more punchy
  • Fast release sounds more real, slow release sounds more compressed
  • Auto-release will choose slow or fast based on the transients

Process

  1. Get a few dB of compression by lowering the threshold at 2:1
  2. Set the ratio to the desired amount
  3. Set the makeup gain to match the uncompressed sound
  4. Adjust the attack and release

Types

  • Opto. Uses a lightbulb and a photocell. Fat, smooth. Naturally slow attack and release because of the time it takes change the bulb's intensity. Bass, vocals, synthesizers.
  • Vari-Mu. Uses a series of tubes and alters their bias. Naturally slow attack. Big low-end, fat and smooth. Good for bus compression.
  • FET. Colored. Fast. Good for drums, punching through the mix. Aggressive, punchy.
  • VCA. Uses voltage-controlled amplifier. Lots of control. Glueing together. Very versatile, most transparent.

Series Compression

  • Use 2-3 compressors to make it more subtle, without bringing out a lot of detail
  • 2-3 dB per compressor, lower ratios
  • Smoother, more transparent
  • Popular on vocals and bass
  • Lets you use the sonic characteristics of both
  • On vocals, this is a solution to harsh sibilance

Parallel Compression

  • Fatter

Harrison Leveler

  • General gain riding- similar to a finger on a fader
  • Low ratio, very transparent
  • Good for dynamic vocalists and bass players
  • Should show nearly constant gain reduction
  • LA2A, brings a singer closer to you

Harrison Compressor

  • Attack/release combined into "speed"
  • Extends sustain
  • Pumps
  • Glues

Harrison Limiter

  • Tames sharp transients
  • Good on acoustic guitar
  • Shapes transients of drums
  • Good for broadcast-style limiting

Parallel Compression

  • Brings up softest sounds to add detail
  • Common on drums
  • Send to two different busses
    • Don't have to include the same channels!
  • Smash the parallel bus hard
  • Include a little high and low EQ

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